The Heroes of Kaş Monument Competition Proposal by Osman Ural

K12M6L The Heroes of Kaş Monument Competition Proposal Conceptual + Technical Report

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Introduction The Heroes Monument of Kaş provides a unique opportunity for the town to not only pay respect to soldiers who went above and beyond to preserve their homeland, but to activate, connect, and enhance existing circulation flows by providing a public space that could potentially transform the marina from a piece of infrastructure to an attractive waterfront for many peoples to interact with. It is because of this that the motivation for the proposal of this memorial should be to create a multifunctional human scale intervention that is designed around the experience of the user. As a memorial, it is vital that the design informs visitors that war is essentially the struggle to preserve the peace and defend the lives of their countryman. It was this motivation that allowed them to perform deeds that went above and beyond their duties to protect the sanctity of life, elevating them to become the heroes they are recognized as today. In order to understand this message, visitors are invited to not only learn about their heroic moments, but to also respect them as human beings and reflect what it means to put your life in harms way to protect the people you love. To achieve these goals, the memorial should perform as both a sculpture and a pavilion that invites users to both interact with it and evoke memories. This can be influenced by understanding pedestrian traffic flows and integrating them into the design of the memorial. Another method of attraction would be to provide a vantage point that allows visitors to connect with the surrounding landscape of Kaş, more specifically Meis Island and the hilltop where Mustafa Ertuğrul courageously fired at and sunk the Ben-my-Chree. By designing an experience, rather than a statue, visitors are motivated to interact with the memorial and understand the significance of both the location and the actions of our two heroes. As a new piece to the urban fabric of Kaş, it is important that it be a multifunctional structure that enhances the quality of public space. This can be achieved by implementing strategies such as improving upon the green network of the town, providing shade that negates the heat effect caused by the concrete structure of the yacht harbor, using sustainable construction methods and materials, and implementing nature inclusive design that provides support for local plants and wildlife. It is also important to see the proposal as not only a memorial, but a piece of the urban fabric that visitors can sit, relax, and enjoy throughout the year. By acknowledging and combining all these different layers, this memorial can be come a central node for Kaş that provides a new breath of life for the identity of the waterfront, while also providing a space that not only pays respect to these heroes of Kaş, but a space to gain knowledge, perspective, and reverence for their character and actions.

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Contents Concept Report

Technical Report

Understanding the narrative of our two heroes, their place within the story of Kaş, the city’s many layers, its relationship to its landscape/environment, and how to transform these ideas into a spatial reality.

Developing strategies that will give the proposed form structure, the details that make up these structures, and how they will help achieve the goals set fourth by the municipality.

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Conceptual Report

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The Essence of Kaş Breaks Down at the Boundary Between Harbor + Cumhuriyet Square

Contextual Layers Urban Form + Circulation

Environmental + Sustainability Issues

The Narrative of Our Heroes

Analysis Gives Meaning Form of the Memorial

Climate Responsive Memorial

Function of the Memorial

Layers of Design Proposal for the Memorial The Overall Conceptual Approach to the Proposal of the Memorial

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1a. Conceptual Approach Towards the Memorial Proposal Before going into the design narrative of the memorial, the first step of the design proposal involves the discovering of important characteristics and issues that surround the project area (problems), and contrasting them to the qualities that define the essence of Kaş (opportunities). Comparing the ideal to the existing situation will reveal contextual layers that will help define and give meaning to the design proposal of the memorial. The essence of Kaş can be characterized as a quiet seaside town nestled into the ancient dramatic and sweeping topography of its Mediterranean environment. Its structure is made up of old buildings with wooden bay windows that frame narrow streets scented with jasmine flowers that spreads out into a periphery with trees and vegetation penetrating the town from the countryside. Spread throughout the town and its surroundings are also historical artifacts that allow for the inhabitants of the past to communicate to the present, making a memorial to the heroes an appropriate addition to the urban fabric of Kaş. The project site itself exists along the waterfront of the Kaş Municipal Yacht Harbor, serving many types of transport boats for primarily touristic purposes. Even though it is a space that caters to the public, the harbor feels like its own entity that is disconnected in a variety of ways. The harbor has an excessive amount of concrete hardscape, which attributes to the its poor spatial quality. This is in stark contrast to the pedestrian friendly Cumhuriyet Square, which barely has any spatial connections to the harbor, effectively creating a boundary condition that separates the square from the waterfront. The harbor is also disconnected to the vibrant nature that surrounds

Urban Form + Circulation Environmental + Sustainability Issues The Narrative of Our Heroes.

These layers give a base for the conceptual framework that will not only help generate the design of the proposal, but also give the memorial purpose and meaning by feeding into the layers of design needed to generate the memorial. By doing so, the essence of Kaş will be embodied into by these design layers: • • •

Form of the Memorial Climate Responsive Memorial Function of the Memorial

Based on this framework, this report will look at and analyze the conceptual layers, and by doing so will determine the responses that will be given by the design layers, ultimately generating the proposal for the memorial.

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Conceptual Framework Based on these observations, it is determined that the 3 main contextual layers are as follows:

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it, as the concrete structure of the harbor cannot support any natural elements. A lack of greenery also reduces the ability to shade the harbor, making it a harsh environment for pedestrians to walk through. These problems result in a lack of spatial hierarchy, like a leftover space of the town, isolating the existing memorial, which currently floats aimlessly around the project area. The actions of our heroes deserve more respect - their voices should be heard, not ignored in such a manner.

The Existing Memorial Floats Isolated on a Plateau of Concrete

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The Project Area is Located at the Crossroads of Three Main Arteries

The Memorial Should Help the Main Square Reconnect with the Waterfront

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1b. A New Sociospatial Node for Kaş The first step on the journey to discover the design narrative of the memorial involves understanding its position in Kaş, and the project location’s relationship with its surroundings and local environment. The project area is located at the crossroads of three primary arteries: Atatürk Bulvari, Süleyman Sandıkçı Sokak / Hükümet Caddesi, and Necipbey Caddesi. These circulation arteries have along them a variety of nodes that help generate activity, such as the municipality building, the Süleyman Çavuş Mosque, the district governorship, and the ancient amphitheater of Antiphellos.

This border condition isolates the square from the waterfront, and a step towards repairing the relationship between the square and the yacht marina could happen in the form of a new socio-spatial node along the waterfront brings in more pedestrian traffic and interest, while also taking advantage of the circulation arteries that already feed into the square. Therefore, the proposal for the memorial is a great opportunity for the city to re-connect its main square to the waterfront, providing an overall better quality public space, while in turn strengthening the character of Kaş.

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These arteries feed into and help activate the Cumhuriyet Meydanı, a fluid-like organic shaped public plaza partially framed by shops and restaurants that take advantage of the high volume traffic of pedestrians traveling through the town. Within this space floats public goods such as the Atatürk Sculpture, benches, and trees for shading.

The square also shares a side facing the yacht harbor, and currently function as two completely separate public areas. This is because marina side is a layered mix of parked cars and boats that pedestrians have to walk through, as it functions more like a piece of infrastructure, disconnecting it from the sphere of public space.

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Proposed New Holistic Structure of Cumhuriyet Meydanı

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The Lush Green Network Encompassing the Project Area

Integrating Greenspace into the Memorial will Help Connect the Harbor to the Green Network

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1c. Enhancing Connections to Nature and the Environment Another issue that is creating a divide between the Cumhuriyet Meydanı and the Kaş yacht harbor involves a large contrast between the amount of greenery found within these two spaces. Because the harbor has been constructed with a permanent concrete structure, and has no surface level access to soil, the space is disconnected to the green network of the town and its environment. This is a problem because this paradigm further increases the separation between the town and the waterfront. A solution towards removing this divide would be to extend the green network of the town into the project area of the memorial. Increasing the amount of green surface around the memorial will not only connect the waterfront to the green network, but it will also make the harbor area more attractive to inhabit and walk through, activating the harbor as a public space even further. Another advantage for implementing greenery into the project area is that as of now, the lack of vegetation is allowing for a more intense heat effect around the

Lack of Vegetation and Poor Water Retention Increases the Urban Heat Island Effect

harbor, making it harder for pedestrians to use and enjoy, especially during hot days and dense crowds of people. This is because there is a lack of natural shading and ground cover as the completely paved concrete surface of the harbor prevents plant transpiration and water evapotranspiration that would usually exist around natural soils and trees. Therefore, in order to really activate the harbor and connect it to the public sphere of the town, there needs to be more trees and planted surfaces that will increase the livability of the waterfront. Implementing this strategy will provide more shade, while also helping to reduce the heat island effect and reduce peak summer temperatures by 1 to 5 degrees Celcius. It is also important that the vegetation used around the harbor should be native species that can withstand the local climate. Doing so will also help retain the ecological identity of the town, preserving the character and essence of Kaş.

Adding Greenspace Increases Plant Transpiration and Water Evaporation from the Soil

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Orienting the Project Area to the Significant Locations for Our Two Heroes.

The Major Events of Our Two Heroes

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1d. Understanding / Gaining Perspective our Heroes After analyzing both the macro and contextual relationships between the town and the project site, it is vital to have a better understanding about the lives and actions of our two heroes who should be represented in the memorial proposal. Doing so will allow for a more appropriate expression of their contributions to their country and accurately communicate their connections to Kaş and its environment in a truthful and meaningful way. Topçu Teğmen Yusuf Ziya Erdi It is most appropriate to first start understanding the life of Yusuf Ziya Erdil, a native son of Kaş. He was born in Gökçeören (Seyret) village in 1889, about 15km away from the project site. He served as an artillery sergeant with distinction during the Italo-Turkish war of 1911. From his position at Orhaniye bastion at the Dardanelles strait, he shot and disabled an Giuseppe Garibaldi-class armored cruiser called the Varese, which was part of an invading fleet consisting of 14 Italian warships attempting to perform a naval feint towards Istanbul. The aim of this maneuver was to distract and force the Ottoman navy to move strategic assets away from protecting the Dodecanese islands (one of them being Meis Island), which were being taken over by the Italians to increase their colonial holdings in the Mediterranean. The war ended with the Treaty of Ouchy on October 18th, 1912 with the Italians agreeing to cede the islands back to the Ottoman Empire in Article II of the treaty, but this would not come into fruition. This is because the First Balkan War would break out right after the signing of the treaty, and it was agreed upon by both governments that Italy would be a neutral actor that protected the islands until the end of the war, in order to prevent Greece from attacking them. Then, because the two countries fought against each other again in World War I, the islands were never returned back to the Ottoman Empire. Though Yusuf Ziya Erdil’s actions did not directly prevent these islands from eventually being controlled by other foreign powers, his heroism at the Dardanelles not only blocked the Italian Navy from entering the Marmara Sea, it also prevented the unnecessary loss of life the Ottoman military would have been inflicted upon by a false invasion of Istanbul by the Italians. He saved the lives of countless comrades, going above and beyond the duties of public service. He would continue his service for his fellow man even after retiring from the military as an imam back in Gökçeören village, then as the Mufti of Kaş in 1945 until his death in 1969 - a true testament to not only his character as a man, but as a true protector for the sanctity of life.

Topçu Yüzbaşı Mustafa Ertuğrul Aker The other hero of this story is not connected to Kaş by birthright, but by his historic actions around it as the first person in history to sink an aircraft carrier. Mustafa Ertuğrul Aker was born in Chania, Crete in 1893. He first heroically served as an artillery officer at Gallipoli during World War I, from where he was then transferred to Kaş in 1916 by the German Commander Otto Liman von Sanders to be a part of the campaign around the Antalya region. He was put in charge of 4 German made Ehrhardt 7.7cm artillery canons, of which he secretly positioned his unit on a peak at Kepez Burnu, located directly south from the Kaş yacht harbor. There was an initial plan to retake Meis Island from the French, who aimed to use it as a forward base. However, the plan was later scraped in favor of a defensive approach to damage the Allied war effort with the destruction of passing ships that were harassing Ottoman supply and ammunition lines around this geographically challenging region. Under these orders, then Lieutenant Mustafa Ertuğrul Aker fired upon ships docked in the harbor of Meis Island during a bombardment on January 9, 1917, with the 1st shot made around 13.00 in order to fix the range of the guns. Soon afterwards, all 4 guns shot a salvo to the bay, in the process hitting the HMS Ben-my-Chree (Manx translation for “Woman of My Heart”), which was there to supply provisions for the French occupying forces, while providing reconnaissance planes to scout artillery positions along the coasts of the region. The salvo immediately damaged the ships steering-gear, the seaplane hangar, and their fuel supplies, lighting the ship on fire. 30 minutes later, the ship was abandoned by it’s crew as the fire spread to the engine room, but did not sink until after 5 hours of constant shelling on the harbor. Even though a couple days later, Mustafa Ertuğrul Aker’s battery position would be compromised by a French battleship, his extraordinary precision put a dent into the Allied effort to suffocate the Ottoman ability to defend the region, saving many Turkish lives in the process. He would continue his valiant efforts at Ağva Bay by sinking both French warships the Paris II and the Alexandra, which the later was destroyed by detonating an explosive filled sailboat to sink it. He later served in the Independence War, and prevented any land incursions in the region until he retired in Antalya in 1930, where he lived until his passing in 1968. He, like Yusuf Ziya Erdil, through determination and will, did whatever it took to protect their land and people, preserving the sanctity of life. 13

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Diagram Set Explaining the Physical Manifestation of the Narrative of Our Heroes

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1e. Implementing the Heroes’ Narrative to the Memorial Based on the research of our two heroes, it can be determined that their actions were motivated by the preservation of life, their drive to protect it and their country. Their reverence for the sanctity of life pushed them to go above and beyond their duties, elevating them to become the heroes we now know them to be. To adequately portray their significance, this narrative is broken down to the essential pieces, and translated into the form of a memorial. This process can be explained in 6 steps: 1. A cypress tree is selected to embody the qualities used to symbolize the Tree of Life. With its strong trunk, its spread out roots underneath the soil, and its leaves reaching for the heavens, the characteristics of the cypress tree is known to symbolize the trinity of birth, life, and death. It is known to be a very durable evergreen tree that is endemic to the region, making it local to the environment, while it also produces an oil which gives off a soothing and refreshing aroma. 2. The Tree of Life, by destiny, were designated to be protected by both Mustafa Ertuğrul Aker and Yusuf Ziya Erdil. Both of their lives led to the service of their fellow countrymen as protectors, creating a defensive line around the perimeter of the tree. 3. The physical manifestation of this protection is The Path of Reverence, which spirals around the Tree of

Life, creating a protective shield that will safeguard the health and safety of the tree. Though the tree can exist on its own, outside forces beyond nature can threaten its survival. 4. The Path of Reverence doubles as a ramp that will allow visitors of the memorial to get vantage points of the events that connect our two heroes to Kaş. One perspective looks at Meis Island and the peak of Kepez Burnu, the battle scene where the HMS Ben-my-Chree had famously been sunk by the artillery fire led by Mustafa Ertuğrul Aker. The second perspective looks towards the village of Gökçeören, the birthplace of Yusuf Ziya Erdil. While traveling along the ramp, visitors will gain knowledge about the events and actions that helped transcend these men into heroes. 5. The Path of Reverence is given form by the lifelines of our two heroes, defined by their actions and lives that protect the Tree of Life from harm. The location of their lifelines along the protective path are designated by the vantage points that define the characters of these two men. 6. At the intersection of the Tree of Life and The Path of Reverence is an enclosed and protected space where visitors can gather and reflect about what they have learned along the Path of Reverence, making the memorial a true artifact of a collective memory.

“I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.” - J.R.R. Tolkien

Yusuf Ziya Erdil

Mustafa Ertuğrul Aker

Connecting to the Green Network

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Increasing the Volume of Soil to Supoort the Tree of Life

The Project Boundary is Chipped Away by Pedestrian Circulation

Circulation Arteries Converge at the Tree of Life

Circulation Flow Feeds into the Memorial Ramp

Exhibition Pavilion

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1f. Translating the Layers into Form With the narrative generated from the lives of our two heroes, it is time to apply the macro analyses of the circulation paths of the city and explore how to connect the memorial to the green network of Kaş. Like a sculptor chipping away at the unhewn stone, these layers give shape to the memorial while following the blueprint set fourth by our heroes narrative. The generation of the final form of the design proposal can be explained in 6 steps: 1. The project site is connected to the green network of Kaş, bringing in much needed groundcover to the bald and concrete hardscape of the harbor. To maintain this amount of greenery, there is a minimum amount of soil needed to maintain it. To support this much soil, a supportive border is needed around it. This structure will also allow for visitors to freely sit next to the new greenspace. 2. The Tree of Life is planted at the center of the project site, and will act as the focal point for the memorial. To support this tree, additional soil is needed so that the greenspace can maintain the root network underneath the tree. It also gives the harbor a natural topographic element, as the city center and the Cumhuriyet Square are relatively flat. 3. To improve circulation around the memorial, the green space is reduced to allow for comfortable movement for visitors of the site. The circular form connects the memorial to the narrative of our heroes as a symbolic gesture of a protective perimeter for the Tree of Life. It also disconnects the form from the site boundary,

which is a line loosely generated from the context that does not respond to the green borders that define the public space of the Cumhuriyet square. 4. The major circulation paths of the harbor intersect at the center memorial, cutting away the topographic green space. These paths flow around the Tree of Life, reinforcing the tree as a focus point of the memorial. This conflict of an unstoppable force meeting an immovable object (the irresistible force paradox) allows for the memorial to act like a conduit between the major circulation arteries of Atatürk Bulvari and Süleyman Sandıkçı Sokak / Hükümet Caddesi. 5. The Path of Reverence is inserted into the memorial site and is activated by the prevailing circulation path. It is a gently sloping ramp that rises above the harbor to allow visitors to clearly see the two perspectives that connect our heroes to Kaş and its periphery. A ramp is also socially inclusive as it is wheelchair accessible. 6. The ramp will be spatially realized as a steel structure clad with thermowood panels that flank it. The wooden panels collectively act as railings that double as surface area for information panels. This will allow for visitors to safely travel along the ramp, while also encountering events and actions about our two heroes, like a three dimensional timeline. Thermowood is also chosen for sustainability and maintenance issues, as it is a renewable material that can be replaced piece by piece over time. It is also friendly to the human touch, no matter what season it is.

A Zoom in of the Generated Proposal for the Memorial

Askerli / Anma Toreni

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Reflection Space

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Exhibition Pavilion

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1g. A Memorial that is Multifunctional and Inclusive Within the proposed form exist multiple functions that help the memorial become more than just an idyllic sculpture by implementing elements that increase human interaction and use. By having a variety of spaces and design components, the memorial will be better connected to the town, increasing the visibility of our two heroes to the general public. These elements are as follows: 1. The proposal first acknowledges the need for integrating ceremonial functions that are held to remember and honor our heroes. During these situations, the spatial hierarchy is determined by transforming the Hükümet Caddesi side entrance of the memorial into a podium space. The stairs and the semi-open framed entrance space allows for a focal point for the memorial where participants of the ceremony can be led and acknowledged. 2. Another ritual in the remembrance ceremonies of our heroes involves the placing of wreaths in honor and respect of our heroes. These are usually centrally placed on the memorial, and involve a moment of reflection. It is for that reason that this ritual happens at the base of the Tree of Life in an enclosed and protected space.

3. The central area of the memorial proposal is a dedicated reflection space for visitors to use after the experience of the ramp. Visitors are encouraged to contemplate the newly found respect for our heroes and appreciate their reverence for the sanctity of life underneath the Tree of Life itself. 4. To increase visitor comfort and interaction space around the memorial, seating elements are provided throughout the proposal. An inner ring forms the reflection space in the center, and an outer ring allows visitors to sit and wait along the waterfront. 5. The greenspace that surrounds the memorial helps keep the surrounding area cool by increasing climatic comfort for visitors and other pedestrians. The outer ring implements wild grasses that references an idyllic and spiritual nature that is wholesome and pure, surrounding the Tree of Life at the center. 6. The socially inclusive wood ramp structure at the center allows visitors to observe the surrounding context and its connection to our heroes. It also doubles as an exhibition pavilion where visitors are educated about the actions of our heroes as they travel upwards to gain perspective and respect for them.

Implementing a Ramp Makes the Memorial Socially Inclusive to All

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The Open Part of the Ramp Allows Visitors to See Kaş and the Battle Area around Meis Island

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The Entrance to the Ramp Provides Information about Our Heroes

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1h. A Memorial that is Informative and Experiential The central exhibition pavilion ramp is divided into multiple parts, which are determined by their functions and relationships to the context. Functionally, the entire ramp is a Path of Reverence where visitors experience the lives of our heroes in a 3 step process - Learn, Discover, and Reflect. (1.-2.) Learn The learning occurs within the semi-enclosed bottom half of the ramp, where the walls are high enough to disconnect visitors from the environment to allow them to focus on the narratives of our heroes. This space is split into 2 sections: The Yusuf Ziya Erdil Section, and The Mustafa Ertuğrul Aker Section. These sections support information panels (A) that provide knowledge about our heroes actions and glass display cases (B) that house artifacts from their lives. Some of these artifacts could be provided by Yusuf Ziya Erdil’s son, Eşref Erdil, who wants to donate his father’s belongings to be exhibited so that future generations can understand the sacrifice made by his father. This memorial proposal is an opportunity for his wishes to become a reality.

(4.) Reflect The exit of the Path of Reverence is the same as its entrance, giving visitors a sense that they have come back to the same place they started, except with a new sense of appreciation and respect of our two heroes. This also includes an understanding of the sacrifices they made to protect their home and country. To reflect about this newly gained insight and perspective, visitors are invited to reflect underneath the Tree of Life. This space is surrounded by the Path of Reverence, reminding visitors the price paid to protect the sanctity of life.

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Panels Along the Walls Provide Information about Our Two Heroes

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(3.) Discover After passing through the learning part of the ramp, the wooden walls transform into railing in the top half of the Path of Reverence. Visitors are invited to discover the surrounding context and the relationships the heroes have with it. Firstly, visitors are able to look around Kaş and towards the village of Gökçeören, the birthplace of Yusuf Ziya Erdil. The peak of the ramp is where visitors can see the battle area between the peak of Kepez Burnu and Meis Island.

Enclosed Cases can Hold Artifacts of the Two Heroes

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Overlapping Functionality of the Memorial Proposal with the 1/1000 Imar Plani of Kaş

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The Various Landscape Elements Found Around the Memorial

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1i. Landscaping as both Climate + Narrative Responsive Design The landscaping of the memorial is not just greenspace, but has design elements that acknowledge issues of both climate and narrative meaning for the proposal. It is made up by two primary elements: a ring of various wild grasses bordering the memorial (2), and a Cypress tree within a polished stainless steel planter (3). These form of the landscaping does not just work within the narrative of the proposal, but is flexible in its ability to both work in the current context and the design intervention proposed by the imar plani of Kaş (1). The landscaping will implement endemic plants of the region that can eventually self-sustain in the climate conditions of Kaş. This is not only a sustainable practice that promotes the growth of local fauna, but it also requires less maintenance in the long run. On one hand, the landscaping strategically reduces the air temperature around it though evapotranspiration and a combination of plant transpiration and water evaporation from the newly placed soil itself. In combination with shade thrown by the wooden ramp, it reduces the urban heat island effect caused by the concrete hardscape of the harbor. On the other hand, it symbolizes a spiritual and idyllic nature that represents “Elysium-like” fields surrounding the Tree of Life. The wild grass around the memorial is meant to connect visitors with nature as the tall plants sway in the wind, alluring them into gently skimming their hands along the tops of the grasses. This gives the visitors a sense of calm and serenity, an ideal state to be in at a memorial. Tree of Life According to Turkish traditions and social beliefs, the Cypress tree is a symbol of both man’s unity, growth, and existence (from birth to death). As it moves in the wind, it is believed that the rustle of its branches evokes a praying

Uslu Şekerkamışı

Arsız Kirpikli Çim

dervish and the dhikr “Hû!” - meaning God in Sufism. Its tall height acts as both a focal point and beacon, calling on visitors to come pay respect to our two heroes. Cypress Tree The successful planting of a Cypress tree (Cupressus sempervirens) depends on quickly stabilizing its roots, which requires regular watering until they become established. Once it has settled in, deep and infrequent watering over time encourages deep roots and enhances their drought tolerance. The Cypress tree can grow in multiple soil types, and surface roots are not an issue. Therefore, it is a strong, durable tree and low maintenance plant that quickly adapts to the soil and climate it is in, making it an ideal candidate as the Tree of Life. The proposed tree is approximately 9 meters tall, which requires a planter with a minimum 989 litres of soil. The planter has a volume of 5.5 m3, more than enough to support the Cypress tree. Wild Grasses Kaş has a warm and temperate climate that exhibits a sharp contrast between the wet winter months and the dry summer months. The disparity in rainfall amounts throughout the year makes using drought resistant wild grasses a climate responsive decision. It is also a low maintenance decision as well, as rainwater collected in the planter during the winter can help the grasses make it through the summer. Using native wild grasses also promotes both cultural and ecological identity of the region. The wild grasses that used are as follows: • • • •

Arpamsı Brom (Bromus hordeaceus) Arsız Kirpikli Çim (Vulpia myuros) Uslu Şekerkamışı (Saccharum ravennae) Kısır Brom (Bromus sterilis)

Arpamsı Brom

Kısır Brom

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Technical Report

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The Three Main Layers of the Overall Structure of the Memorial

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2a. Revealing the Structure Layers of the Memorial The memorial implements a multi-layered structural system that gives form to both the ramp, the flooring, and the wooden walls and balustrades. The proposed structure can be broken down into 3 layers of elements: Primary Structure, Secondary Structure, and the Wooden Cladding. Primary Structure (1) This layer defines the form of the ramp, provides a base that will support the wooden cladding, and connects the memorial to the ground. This is achieved by using a system of radially placed columns that are each bolted to the concrete of the harbor. The columns then hold up the steel floor segments of the ramp with welded joints at various heights. Each segment is made up of two curved steel channel beams that are interconnected by steel channel crossbeams, which are then bolted together to create a sable structure. Secondary Structure (2) This layer is a railing framework system that gives form to the balustrades and walls by providing an intermediary structure between the wooden cladding and the primary structure. This is achieved by welding balusters to the outer sides of steel floor segments, and are then interconnected with curved steel rails. These provide surfaces to fasten the individual wooden planks to the framework itself.

A. Wood Standing Out / Hiding the Structure

Wood Cladding (3) This layer is the most outer element that is made up of wood planks attached to the overall structure. Vertical elements (balustrades) are secured to the secondary structure, while horizontal elements (flooring) are attached with welded strips to tops of the curved steel beams of the floor segments. Design Approach of the Structure Multiple conceptual factors are acknowledged in the chosen materials of the memorial, and the methods of how they come together. Firstly, the wooden cladding is designed and positioned in such a way to hide the steel structure in plain sight (A). This is done to maximize the free floating effect that the form of the wooden cladding is trying to achieve. Secondly, the rawness of the materials and their connections to the structure reference the tectonic aesthetic of 20th Century military technology (B). This will give visitors feeling of authenticity and nostalgia of the time period that our heroes served in. Thirdly, wood is specifically chosen as a soft and warm material that is friendly to the human touch (C), sharply contrasting the harsh concrete floor of the harbor.

B. Tectonic Aesthetic of 20th Century Technology

C. Wood is Friendly to the Human Touch

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2b. Hierarchy + Functionality of the Primary Structure The primary structure is organized into 2 main elements: 14 columns with a connective base plates (1) and 14 steel floor segments (2) that are bolted to them. Columns + Connective Base Plates Pairs of columns are radially distributed and bolted to the concrete ground with base plates (A). This is done because it is not possible to dig into the floor of the harbor, so the columns have to be directly attached to the ground. Joints are welded to the columns at points where the steel floor segments will connect with (B). This will create an overall stable structural system for the memorial, as displayed in Diagram 3. Additional joints are also added to provide additional connections for the secondary structure, which will be responsible for holding up the wooden cladding.

Steel Floor Segments These pieces of the structure give the ramp its shape, while at the same time strengthening and connecting the entire structure together. Each of these 14 segments have 2 curved steel channel beams, with channel crossbeams weaving between them. These floor segments should be prefabricated off-site, as the curved beams need to be bent/rolled accurately to make the correct form of the ramp. The advantage to a pre-fab construction method is that it is a very precise and budget friendly approach for creating structures. Materials are mass produced and measured accurately, making construction times faster and budget sizes more predictable. It is also environmentally friendly as it produces less waste because any extra generated material is recycled in-house at the factory.

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A Detailed Section of the Overall Primary Structure

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1-6 of the Individual Steel Floor Segments

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Structural Diagram Mapping the Positions of the Steel Floor Plates

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7-12 of the Individual Steel Floor Segments

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The Base of the Ramp Implements a Steel Box Tube Framed Segment

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Exploded Axonometric Breaking Down the Elements of the Secondary Structure + Wood Paneling

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2c. Connecting the Wood Paneling to the Secondary Structure The rest of the structure is organized into 4 main elements: steel balusters welded to the steel floor segments (1), curved steel channels connecting the balusters together, creating surface area to attach the wood cladding (2), wood floor and ceiling planks (3), and finally, the wood slatted screen walls and balustrades (4).

S tr

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Wood Floor and Ceiling Planks (3) These pieces will be connected to the tops and bottoms of the steel floor segments through welded plates/strips that will allow the planks to be bolted to the structure (A). Wood Slatted Screen Walls + Balustrades (4) These pieces will all be bolted to the secondary structure (B). They are spaced in such a manner to keep visitors safe, while not fully blocking the view of all the surrounding area.

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Steel Balusters (1) These are the main elements creating the backbone for the secondary structure. Their bases are welded to the curved steel channel beams steel floor segments (C), and the balusters provide surface areas to weld the curved steel channels of the secondary structure. The balusters will be hidden by all the wood cladding the memorial.

Curved Steel Channels (2) These pieces will be welded to the steel balusters, and cut according to the distances between the columns. This is because the steel channels will be bolted at connections at various points along the columns (D).

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Exploded Axonometric Breaking Down the Elements of the Secondary Structure + Wood Paneling

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A Detailed Look at the Screen Walls + Ramp Endings

The Base of the Ramp Implements a Steel Box Tube Framed Segment

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Information Panels and the Curved Glass Display Boxes are Bolted to the Wood Paneling

The Wooden Planks of the Screen Wall at the Base of the Ramp are Cut Parallel to the Ground

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Perspective of the Reflection Space in the Center of the Memorial

Axonometric Perspective of the the Memorial

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2d. Budget of the Memorial Estimated Landscape Budget Cypress Tree 5 meters 10,000 Grass Areas 1,688 Ground Pebbles 11,926 Soil 25,073 Central Steel Planter 12,240 Wild Grasses 2,784 Concrete Stairs 7,064 Concrete Walls 29,920 Assembly + Workmanship 9,644 ---------------------------------------------------------------Landscape Total 110,923 TL Estimated Steel Construction Budget Columns 11,160 Beams 212,270 Railings 6,174 Assembly + Workmanship 45,921 ---------------------------------------------------------------Steel Construction Total 275,524 TL

Other Elements Information Panels 1,911 Curved Glass Display Boxes 1,242 ---------------------------------------------------------------Other Elements Total 3,653 TL Estimated Total Budget Landscape 110,923 Steel Construction 275,524 Wood Construction 282,682 Exhibition Panels + Displays 3,653 ---------------------------------------------------------------Total 672,782 TL

Estimated Wood Panelling Budget Screen Walls 40,173 Back Entrance Pieces 538 Ballustrade Pieces 38,111 Wood Flooring + Ceiling Pieces 153,958 Screen Wall + Ballustrade Connectors 10,831 Bolts 2,200 Assembly + Workmanship 36,872 ------------------------------------------------------------------------------Wood Panelling Total 282,682 TL

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